Sometime around the late ’80s, Italian director Dario Argento, who is a huge Edgar Allan Poe fan, called up George Romero with the idea of making a multi-director anthology film based on Poe’s tales. The original plan was to have four segments, one each by Romero, Argento, John Carpenter, and Wes Craven. In a 2009 interview, Argento also mentions considering Stephen King as a possible contributor.
Unfortunately, neither Carpenter nor Craven were available, and so Romero and Argento decided to do a diptych, for lack of a better term, to be filmed in Romero’s home town of Pittsburgh, and set in the present day. Romero adapted “The Facts in the Case of M. Valdemar;” Argento chose “The Black Cat.” The resulting film, which was released in Europe first, was Due occhi diabolici, aka Two Evil Eyes.
I’ve only just heard of this film. It had only a limited theater release around 1990-1991 (I’m not sure why), and fell into relative obscurity. Of course once my husband and I found out about it, we had to see it. We’re both huge fans of Corman’s Poe films, and I love the anthology format, so I’m especially fond of Tales of Terror (1962), which also includes versions of “Valdemar” and the “The Black Cat.” How interesting to see new versions of these stories!
As a bonus, the movie was shot in Pittsburgh in 1989, just before I moved there for grad school. So I had the extra treat of recalling the Pittsburgh scenery as it appeared in the background of the film.
I had nothing to do last night and wasn’t in the mood to read, so I killed a little time watching a movie I discovered on archive.org: Horror Hotel, aka The City of the Dead (1960).
This could be considered the first film from what would become Amicus Productions, the “not Hammer” British horror house, famous for their series of quite fun horror anthology films in the 1960s and early 1970s. It’s not a bad first offering, at all.
Just a quick one today. The Durmoose Movie Musings blog is running a 31 Days of Halloween mini-blog-film-fest, which I plan to follow as much as I have time to (luckily, it looks like he’s going mostly for shorts). Since his second offering was The Golem (which I recently posted about), obviously he’s got good taste….
His first offering was the 100 year old silent version of Frankenstein, produced by Edison Studios. Those of us who are familiar with Frankenstein mostly through film or television versions tend to define the monster by Boris Karloff’s flat-headed, stitched-together interpretation. And we think of the monster’s creation in terms of James Whale’s Tesla (and Der Golem) inspired electric lab. So it’s interesting to see the Edison version, where Dr. Frankenstein creates the monster by mixing together a bunch of herbs (well, probably chemicals, but I like to think that they’re herbs) and tossing them into a cauldron that I assume holds the body to be animated, and then letting it simmer. It’s like Macbeth’s witches.
The “come-to-life” scene is pretty cool, and there are some cute 1910-era special effects at the end involving mirrors. Mirrors are a big motif in this movie. And best of all — for the busy — it’s only fifteen minutes long.
If perchance you’d like to enjoy this on your own device, rather than youtube, the movie is public domain and available at archive.org. Also, if you have more than fifteen minutes, please do also enjoy James Whale’s definitive 1931 version of movie Frankenstein. There’s a version (with Spanish subtitles), on Vimeo.
Rabbi Yehuda Loew, known to the pious as the “Maharal” came to Prague from Nikolsburg, Posen, in the year 5332 of the Creation (1572 A.D.) in order to become rabbi of the community there. The whole world resounded with his fame because he was deeply learned in all branches of knowledge and knew many languages. Is it any wonder then that he was revered by the wise men among the Gentiles? Even King Rudolf of Bohemia esteemed him highly.
In 1913 German actor and filmmaker Paul Wegener was in Prague filming a Faustian tale called The Student of Prague, which he both starred in and produced. While he was there, he learned the legend of the Golem of Prague, a great clay being that was created and brought to life by the Rabbi Loew to protect Prague’s Jewish community. The legend caught his imagination.
The Golem: How He Came into The World (1920) was Wegener’s third Golem movie; unfortunately, the two earlier movies have been lost. The first two times, Wegener placed the Golem in a contemporary time period; with his third attempt, he tried something closer to a straight retelling of the legend as he had heard it.
Wegener was not Jewish ; and while Der Golem is a beautiful movie, it’s not terribly authentic. Given the atmosphere in Germany at the time, some see Der Golem as an expression of anti-Semitism. It certainly takes a lot of liberties with the source material, but I didn’t think it was a hostile or derogatory portrayal of the Jewish people as a whole.
There are many versions of the legend of the Golem of Prague; the one on Dr. Bronner’s website, which I quoted above, is my favorite. The general idea is that Rabbi Loew created the Golem to guard the Ghetto of Prague against enemies of the Jewish people. In Bronner’s version, those enemies would plant the bodies of dead children in the home of a Jew, then level a “blood accusation”: the charge that Jews used the blood of Christian children in Jewish ritual (in this case, to make Passover matzos). Loew brought the Golem to life from a clay figure with cabalistic ritual; in some versions, he does this by writing the word emet (truth) on the Golem’s forehead, in other versions, by writing God’s secret name on a piece of parchment and putting it into the Golem’s mouth. Continue reading →